"Correggio" Quotes from Famous Books
 ... that pacific Florence, in her pride of victory, was beginning to show unamiableness of temper also, on her so equitable side. It is perhaps worth noticing, for the sake of the name of Correggio, that in 1257, when Matthew Correggio, of Parma, was the Podesta of Florence, the Florentines determined to destroy the castle and walls of Poggibonzi, suspected of Ghibelline tendency, though the Poggibonzi ...
— Val d'Arno • John Ruskin
... possessed all the elements of success! It was grandly historical in subject, original in treatment, pure in colouring; what, then, was wanting? This old warrior's head, of true Saxon type, had all the majesty of Michael Angelo; that young figure, all the radiant grace of Correggio; no Rembrandt shewed more severe dignity than yon burnt umber monk in the corner; and Titian never excelled the loveliness of this cobalt virgin in the foreground. Why did it not succeed? The subject, too—the 'Finding ...
— Chambers's Edinburgh Journal, No. 424, New Series, February 14, 1852 • Various
... replied, "Don't you wish you could?" When our pupils gain the ability to read and enjoy the message of the artist they will be able to hold communion with Raphael, Michael Angelo, Murillo, Rembrandt, Rosa Bonheur, Titian, Corot, Andrea del Sarto, Correggio, Fra Angelico, and Ghiberti. In the realms of poetry they will be able to hold agreeable converse with Shelley, Keats, Southey, Mrs. Browning, Milton, Victor Hugo, Hawthorne, Poe, and Shakespeare. And ...
— The Reconstructed School • Francis B. Pearson
... by the modification of natural truth to fit a preconceived formula. The Eclectics of Bologna, in the seventeenth century, sought to combine Raphael's perfection of drawing and composition, Michelangelo's sublimity and his mastery of the figure, and Correggio's sweet sentiment and his supremacy in the rendering of light and shade, fondly supposing thus that the sum of excellent parts is equivalent to an excellence of the whole. This is false idealism. The Greeks carried their research for certain truths of the human ...
— The Gate of Appreciation - Studies in the Relation of Art to Life • Carleton Noyes
... and twilight, and spring flowers, and autumn leaves, and the Madonnas of Raphael—how motherly! and the Sibyls of Michael Angelo—how majestic! and the Saints of Angelico—how pious! and the Cherubs of Correggio—how delicious! Old as I am, I could play you a tune on the harp yet, that you would dance to. But neither you nor I should be a bit the better or wiser; or, if we were, our increased wisdom could be of no practical ...
— Selections From the Works of John Ruskin • John Ruskin
... Baptist hang on each side of the altar. S. Agnes, with her lamb by her side, is placed on a pilaster towards the southern door. This and S. Margaret are especially graceful and expressive. There is much of the feeling of Correggio, but with more natural grace and less voluptuousness. The cutting and retouching had injured them greatly, but in 1835 Antonio Garazalli took off the repainting and restored them ...
— Fra Bartolommeo • Leader Scott (Re-Edited By Horace Shipp And Flora Kendrick)
... for a Guido, a Rembrandt, or a Correggio," thought Phillip Lawson as he stood on the threshold not daring to breathe lest he break the solemn spell; and as he noiselessly turns away the vision haunts him with increasing vividness. "Turn which way ...
— Marguerite Verne • Agatha Armour
... his back through wide, pitch-dark, deserted, colonnaded streets, past huge palaces, until, after half an hour's rapid walk, we arrived at the hotel. The day before my arrival dall'Ongaro had unveiled the beautiful and beautifully situated statue of Correggio in the Market Square. I first investigated the two domes in the Cathedral and San Giovanni Evangelista, then the ingratiating pictorial decoration of the convent of San Paolo. In the Museum, where I was pretty well the only visitor, I was so eagerly absorbed in studying Correggio and jotting ...
— Recollections Of My Childhood And Youth • George Brandes
... he was with triple power), go to the Louvre and look at the Baccio Bandinelli portrait; you might place it beside Titian's Man with a Glove, or by that other Portrait of an Old Man in which Raphael's consummate skill blends with Correggio's art; or, again, compare it with Leonardo da Vinci's Charles VIII., and the picture would scarcely lose. The four pearls are equal; there is the same lustre and sheen, the same rounded completeness, the same brilliancy. Art can go ...
— Cousin Pons • Honore de Balzac
... of foreshortening employed by his fellow countryman, Melozzo da Forli, by which he made figures painted on domes and vaults look as if they were suspended in the air really above the spectators, and not simply a pattern painted on the surface of the plaster; this method was perfected by Correggio, but was never ...
— Michael Angelo Buonarroti • Charles Holroyd |
